I have to say I find her awesomely retarded. I enjoy seeing someone nutty enough to dress in a kermit plush dress or razorblade sunglasses. I will say that you can do worse in the techno-pop sphere but I'd rather listen to Goldfrapp when it comes to dance-pop-techno-crazy outfits. She's also influencing a bunch of Etsy accessory tycoons.

Crap on the entertaining side.

You guys don't mind that I crash your little sausage party, right?

SecondEdition wrote:And also, just for the record - you have the best sig ever.

All Music wrote:The times were crying out for a pop star like Lady GaGa -- a self-styled, self-made shooting star, one who mocked the tabloid digital age while still wanting to wallow in it -- and one who's smart enough to pull it all off, too. That self-awareness and satire were absent in the pop of the new millennium, where even the best of the lot operated only on one level, which may be why Lady GaGa turned into such a sensation in 2009: everybody was thirsty for music like this, music for and about their lives, both real and virtual. To a certain extent, the reaction to The Fame may have been a little too enthusiastic, with GaGa turning inescapable sometime in the summer of 2009, when she appeared on countless magazine covers while both Weezer and DAUGHTRY covered “Pokerface,” the rush to attention suggesting that she was the second coming of Madonna, a comparison GaGa cheerfully courts and one that’s accurate if perhaps overextended. Like the marvelous Madge, Lady GaGa ushers the underground into the mainstream -- chiefly, a dose of diluted Peaches delivered via a burbling cauldron of electro-disco -- by taming it just enough so it’s given the form of pop yet remains titillating. Sure, GaGa sings of disco sticks, bluffin’ with her muffin, and rough sex, but her provocation doesn’t derive solely from her words: this is music that sounds thickly sexy with its stainless steel synths and dark disco rhythms. Where GaGa excels, and why she crossed over, is how she doesn’t leave all this as a collection of hooks and rhythms, she shapes them into full-blown pop songs, taking the time to let the album breathe with chillout ballads and percolating new wave, like the title track that echoes Gwen Stefani in dance diva mode. But where Gwen simply celebrates celeb consumer culture, GaGa bites, her litany of runway models, pornographic girls, and body plastic delivered with an undercurrent of disdain, even as she loves all the glitz. This dichotomy propels much of The Fame, particularly on the clever “Paparazzi,” where she casts herself as the photographic parasite chasing after her crush, but none of this meta text would work if the songs didn’t click, functioning simultaneously as glorious pop trash and a wicked parody of it.

I definitely like her record and her schtick. "Poker Face" is such a good song.

Lady Gaga makes dull, ordinary, middle-of-the-road, flavorless pop music, with just enough of a hook to make it palatable.

The only reason anyone pays attention to her is because of her extravagant visual aesthetics and performances, which keep her in your, my, and everyone's mouths long past the sell-by date implied by her boring, boring fucking music.

The similarity between Lady Gaga and KISS is striking.

She, at least, is using imagery that isn't inherently juvenile to sell herself, but goddamn she makes boring music.

Crap. No waffles. Any waffles I'd consider are related to the sheen of unusual that is, in this case, nothing more than a marketing strategy.